Valentine Thomas Garland

19th Century dog portrait oil painting of two show dogs

C1883

Claude Cardon British, (1864-1937) Feeding Time in the Orchard Oil on canvas, signed & dated 1918 Image size: 19.25 inches x 29.25 inches Size including frame: 27.5 inches x 37.5 in...

Thomas Percy Earl British, (1874-1947) Bunty Oil on canvas, signed & dated 1915 & inscribed ‘Bunty’ Image size: 21.25 inches x 26.25 inches Size including frame: 27.75 inches x 32.7...

Constant Ludovic Artz Dutch, (1870-1951) The Swimming Lesson Oil on canvas, signed Image size: 11.5 inches x 15 inches Size including frame: 16.5 inches x 20 inches An enchanting painting of ducks and ducklings next to a river by constant Ludovic Artz. A white duck can be seen about to enter the water with her ducklings. Two more ducks are depicted resting on the bank beside a male duck who is shown puffing his chest out. Constant David Ludovic Artz was born in Paris on 3 June, 1870, the son of David Adolph Constant Artz (1837-1890) and Josephine Jouanin. His father was a Dutch artist who had moved his family to Paris to set up a studio. The family returned to Holland in 1874 and settled in the Hague. Artz was taught art by his father and at the age of 12 enrolled at the Academy of Visual Arts in The Hague. He also received tuition from Hendrik Mesdag (1831-1915) and Willem Maris (1844-1910) who had an influence on his subject matter. He married Johanna Sophia Cecilia Ginjoolen at the Hague on 5 July, 1893. One of the witnesses was the artist Tony Offermans (1854-1911) whom he was apprenticed to at his studio. The couple went on to have two children together and to supplement his income, Artz also worked as an art teacher. One of his pupils was Leendert Scheltema (1876-1966). After divorcing from his first wife in 1915, he married Lucie Sophie van der Hoeven in 1917. At some point he moved to Soestdijk, living there until 1926 when he relocated to Katwijk at Sea in. He returned to Soestdijk in 1931 where he died on 23 February, 1951. Like his father, Artz was fascinated by nature and after painting a series of landscapes and seascapes began producing scenes featuring ducks and waterfowl usually on or by lakes and rivers. He was an expert at painting the play of light upon water and also preferred to work with smaller canvasses. His work can be found in private and public collections including the Rijksmuseum. Presentation: The painting is housed in a new, English made gilt frame which is in excellent condition. Condition: As with all of our original antique oil paintings, this work is offered in ready to hang gallery condition, having been professionally cleaned, restored and revarnished. © Benton Fine...

George Cole British, (1810-1883) Rick Making, Lunchtime Oil on canvas, signed & dated 1883 Image size: 23.5 inches x 35.5 inches Size including frame: 30.5 inches x 42.5 inches Prove...

An incredibly captivating image of a leopard basking on a rock by a river. Not only is this a very striking study of a magnificent feline but there is also a narrative here with a py...

This late 19th-century oil painting by British artist Alfred Walter Williams (1824-1905) depicts an expansive view across Barmouth Sands in North Wales. The relaxed golden sands str...

This charming late 19th-century oil painting by English artist Alfred Augustus Glendening (1840-1921) depicts a picturesque woodland view with sheep. Glendening was a distinguished painter of landscapes. Amid the gentle golden glow of British summertime, sheep graze on a country track flanked by several mature trees. It’s likely to be a view in Sussex or Kent and possibly painted at Knole Park near Sevenoaks. Born in Hampton on Thames, London, Glendening was raised in an area popular with Victorian artists. The river, with its zig-zagging steamboats and silvery waters, provided ample inspiration for a young impressionable mind. This fascinating environment delivered the building blocks for his artistic development, and one can imagine him sketching on the riverbank along with other painters. It would take a little time before he turned to art as a career but, once he pursued his calling, success was inevitable. Travel during the mid-19th century was becoming a little easier thanks to the emerging rail network, and Glendening filled his sketchbooks on various cross-country trips. In 1864, he debuted at The Royal Society of British Artists with a view from Cumbria’s picturesque Lake District. The following year, exhibiting ‘A Cornfield, Kent’ at the Royal Academy. Many of his works were centred around shimmering water with the Isle of Wight another frequent destination. Soon, the rising middle classes took note and he became a firm favourite - views in North Wales, the Highlands, Surrey, and Devon captured with a deft touch. His approach was predominantly naturalistic and lacked the grandiosity of many early Victorian painters. His tranquil vignettes are skilfully observed with dapples of light dancing across reflected foliage. The occasional bird picked out with weight and movement. Glendening’s exquisite draughtsmanship was matched by a keen understanding of tone and value, resulting in balanced compositions with blissful moods. By 1903, he’d exhibited 47 works at the Royal Academy - quite an achievement for a late starter. Today, various museums hold examples including at Southampton and Newport. Signed/dated lower left and held within a later frame. Provenance: Private collection, UK. Artist’s auction maximum: £32,000 for ‘Bramber Castle’, Oil on canvas, Christie’s, 19th Century Pictures...

This fine mid-19th-century oil painting by British artist Thomas Sidney Cooper RA (1803-1902) depicts two cows and a sheep in a landscape. Cooper was a distinguished painter of the n...